Paul Greengrass has constructed an exciting thriller out of real-life events, which isn’t always easy. Though I’d be lying if I said that Captain Phillips maintains its tension for its entire run time, it joins Ben Affleck’s Argo in keeping me glued to the story even though I knew how it was going to end.
I love the realism of the film too. It’s not surprising that
Tom Hanks keeps Phillips from becoming an action hero, but I didn’t expect the
level of humanity he brought to the character. I’m thinking about one scene in
particular that I don’t want to spoil (the last one in which Hanks appears onscreen), but it goes beyond simply playing the
part the way I expect people to act in these situations. Phillips does things I
didn’t anticipate, but when I saw them I thought, “Well, of course.”
That said, the movie doesn’t let me get to know any of its
characters super well. It reveals enough to make me care about what’s happening
to them, but I don’t really know what makes any of them tick. The opening scene
is a conversation between Phillips and his wife that I imagine is supposed to reveal
the stakes for Phillips, but it’s the weakest part of the film and doesn’t
actually disclose anything more than it would to just show a picture of his
family on his desk.
The most remarkable thing about Captain Phillips though is
that it gives the Somali pirates as much attention as it does Phillips and his
crew. That means that I didn’t get a lot of detail about their lives before
these events, but I got enough to make me care. The pirates aren’t a
cookie-cutter band of cutthroats; they each have individual personalities and –
I presume – reasons for doing what they’re doing. I would have loved to have
seen some of those reasons on the screen, but it’s notable that the film makes
real characters out of them at all, going so far as to draw specific parallels
between them and their victims.
That comes out in a couple of amazing scenes between
Phillips and the leader of the pirates, a man named Muse. In the first, Muse is
bragging about a Greek ship he took the previous year that was worth six
million dollars. “Six million dollars?” Phillips asks him. “So what are you
doing here?” The expression on Muse’s face says everything. That’s not his
money.
The second scene is later on when everything has started to go
wrong for the pirates. Muse is bemoaning that the result was supposed to be much
different and Phillips asks why he kept at it even when they had an easy
way out earlier. “I got bosses,” says Muse. “They got rules.” Phillips’ reply
is kind of heartbreaking: “We all got bosses.”
What’s heartbreaking about it is the realization that this
life and death struggle between all of these men is actually about someone else’s
profit. The Somali warlords and the shipping company that employs Phillips are
the ones who have created this situation, but its Muse and Phillips and their
men who have to play it out.
I said earlier that it’s kind of remarkable to pay this much
attention to the pirates, but it’s not so unusual for a Paul Greengrass film. I’m
reminded of Green Zone, a movie that I didn’t enjoy as much as Captain
Phillips, but was also able to make me think in a new way about people in a
different part of the world. As Matt Damon searches for WMDs in Iraq, most of
the focus is on the stakes for the United States and its allies. But there’s a
moment late in the film where Damon’s Iraqi ally Freddy talks about his reasons
for helping with the mission. Damon thinks it’s because he’s paying Freddy, but
that makes Freddy upset. He makes it clear that he’s doing it not for the US
and he's not doing it for pay, but because he cares about his country. His people have no
water, he says. They have no electricity. “Whatever you want here,” he says, “I
want more than you want. I want to help my country.”
I love that. Whatever Damon thinks is at stake, it’s nothing
compared to the people who still have to live in Iraq once the US has left.
Even though I knew that intellectually, that scene hit me in a powerful way and
made me remember that when nations get involved in each other’s business, there’s
much more at stake than politics.
In its own way, Captain Phillips reminds me of that too.
1 comment:
This was muscle-tighteningly tense alright. Every time I thought it was going to resolve, it would raise the stakes and stretch out the hostage situation more. It reminded me of Hitchcock's "Torn Curtain", except that one just seemed to be stalling to get to the end. Here, they prolonging the payoff highlighted the unpredictability of such a dangerous action.
I've noticed in recent years that movies "based on a true story" have been vaguer in terms their characters, presumably to keep the actor closer to their counterpoint. It reminded me James Franco in "127 Hours" were we could identify with him, but only in the most basic ways.
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